Goldman Practical Studies

LIBRARY OF

NEWELL DAYLEY HWYVKI

.ilimilllgMM

-* J)J

p

r

r

r jr

|

r

hp r r

pJJ

rcjr rj'Tprp^

jJ3J

J '^ J

m!

r

p/ rj

pr-'UJ

i

pf

f

c^ pm p^ i

^^

i ta-v

i

^

P^i rpJjjpiP

Pr

p

i

rpiy> r

• ii

13.

Syncopation

Passages such as contained in this study are met with in most popular and ragtime numbers, and even in a considerable amount of standard music. The syncopated or longer notes should be accented slight ly to help bring* out the syncopated rhythm. In music of this kind the eighth notes should be long* and the sixteenths very short. Where two sixteenths are joined, they have the value of an eighth. ,

Moderato

Pm

ga

w^

"/

Z=

#

fe

=z zzn

£

m

I

1

g

# •

/

pn^l •-=

£

/f .i .prKEri

—

£ w/

#^ig w

^ ±

~

P4J

0-0 *:

220*3-41

=S^

15

14. The explanation

Syncopation

of the previous exercise will

apply similarly to

this study.

Moderato

r^r^ guppll

m

m

§

*

4

Si »-

2?

f TM a*

s

mm

^m

' l

22042-41

Ererttir fCtrrffr ttfffla i

i

i

jffHt

s*

16

15. Leg-ato To render

smoothness of style is necessary. Sustain the notes well, and give each its proper value. Be careful not to hurry the triplets. Some of the slurs are rather difficult. If this exercise is mastered, the performer should have no difficulty in rendering* song's and arias in proper style. this study properly,

Moderato

rail.

mmmmm 22042-41

-9

5-

16.

Be

Slurring"

careful not to shorten the. last note of each triplet.

note of each bar, but do not accent

n

That

is

a common

fault.

Only tong-ue the

first

it.

Moderato

#

m -0

X

E mf

pH

i

^B wm m

"J

J^ ? '[[r

:

1

^

'i

vmitimmm

mi

i

TjrfLTr^

mm

frfr^W^fr 1

^0m 32043

41

3^

is

17. The same advice giv en

two previous

for the

Slurring-

studies will apply here.

Smoothness

is

very important in this

exercise.

Allegretto

SP

3 mf

3

S§1=

3

m

sffi

*

T*-»-^-

»

SS fp

PI

i

m ^7m

•

;z

fc£*

8=^

i

i

p

b

r^ffi

^jflcrT'Ir

^ i

^ CJ

^

J

D

i

jj

Zijjj

=

£^

^^

jjj^r

r

t

:*t

i

luffsj

or SI

»-

rN j J^+^4

i

jpjr'

:

i

¥^ ^CCT T

S§

h

a tempo

t

^

g

'f

*

*" [T

fe

ii i ^ rail.

^r^jnirprffC?} fr>J Tri 220*2-41

!

*

-9

OTfffq

cW^r^Jj.iiJWf^i

— V)

18. Trill This slow movement is intended to develop the playing- of trills. A trill is supposed to be purely ornamental, and should therefore be rendered in a graceful manner. Do not move the entire hand when trilling-, but use only the fing'er. Some of these trills are easy, while others are difficult and require careful practice.

Andante tr

E3

Q

6>-

IS

»i -/

m

fpf

f

tr

P

E

4

I

f

5

H

^^

J

fJ

I

a

s

tr

£=*

J

I

J /

I

f

**

little faster

2 its

w

tr

C\_

pp

s

S

—7*

w^$ ^g

& 2H tr

*•

tr

-^m

ff-

fj

==

jp

f r

=^==

^

^ee£

=

*'

m

J f

rail.

Cadenza ad ^

tr^

#

*'

P

m /L

m

-O

d

}

*

lib. tr

Nk a

JJ

J.-—

^

tr

^

^ ^ T

•A ;

-G-*-

?

#

gl_J

1 2

-i--

= r

J J

J

w 4

^ J

1

•Hl-J

1

——^^^

—

^—

^-W

—

^^3

--

rail.

a tempo tr

tr

P=&

m

•

"

r^i

j

ir

\

1

S

tr

m

mf

mm 22042-41

tr

tr

es $

fc=3

ftE

£

*

20

Cadenzas

19.

Most instrumental solos in the larger forms contain one or two cadenzas. When a cadenza is found, it indicates that the measure of time is to be suspended, and its performance left to the judgment and taste cf tha player. Cadenzas should be played in a free (ad libitum) style so as to display the tone, technic and other qualities of the player to the best possible advantage. As cadenzas are unaccompanied, they must be played with extreme care. Let every note sound, and do not sacrifice precision and style for speed.

i

|

g

^m yT^^^V ^thr /T\

jgg

'&>+

^

r\

?

r\

$3^

Szit

i

U

f

u

z:

^•lOTTn

*-#

4

/C\

^^

'

"J-U

^^mmmSgBSm^mzm 23

iBS

CSSES CS

^S3

£3^

CSC

^^S

^^SC9

E9

4 6 ff

#

^jjjj

*-*_^' '^iijo

k

CT^JflJjg

22042 41 -

mjgM gg

i

s

«s

g ^^--^^jy

—

j

21

ggfcjSjgg 3 i 8

^jej *4S v^

/?\

*

n

1 '

m

»^?

• z: *

Is

#

y j'n-

fcfa

p

jr* «;.«

m

E^ ^^^

/T\

$^§

is

RH

* ?- * J «

r\

rrr?^f

fee

^

'

/rs

I

iPP

#

[?

^^

22042

11

r

^

O

J *

tM

r^^9

7

s_

P

0\

/T\

/C\

/T\

9

i±t

b*

7

_

—

B 3

«

JJJJJJJJ

ge £fe

4-++:-*

P

i

i>

»

M EE35

22

20. Grace Notes

(Single)

Grace notes are ornaments, and as their name implies must be played in a graceful manner. Light ness and delicacy are the principal requirements of these notes. Do not accent them. Just touch them lightly and slur into the following: note. Only single grace notes are used in this study.

Grazioso

*

;

ucrir

i

mf

4

*=*

It

W-

nm ua-

f i

BF

*T

S

^^^p.-^ ^

8=*£

.FTT

eg

^

>j i>

j]j]

i.

^r

i

J".

^S

i

# tempo^

P

^^ ^

rail. -

ifep

^y

^r

m

ra//.

^

/^

M

EE^£

JTJ^*

$ In

^

£

53?

\

m

3^

m—

* J * p j —m—9 d

I

fJl j^JT?

i=fi

i7?iJ~JjjuJli i

3E

i/J'J

ES

fgr^

5

^J?l Jjj js»

3 #

i

m

£ s?

^

*nt*

*=S

^§

0—-0

m

0-^-0

m

^ 3 g TTJ

g= ^ * J T

fl

f>

5

m

£

b

i

wnj

J^

w/" dolce

4*

*

0-0

SI

-